Eastbourne UK bandstand and pleasure pier

entertainment facilities on Eastbourne Pier

Like other coastal towns, Eastbourne began to grow rapidly as the medicinal and leisure benefits of sea air and sea bathing became well known. Locals scrambled to provide a wide variety of facilities and amusements for the thousands who flocked to Eastbourne each summer. My favourite would have been Devonshire Park which was first designed in 1874 with terraces, walks and a cricket ground. As the money flowed in, the owners added tennis courts and a roller skating rink. Very sensibly they located Devonshire Park next to the baths, the Winter Gardens and the Theatre. 

In this post, I am interested in publicly funded facilities. There were many pleasure piers built around the coastal resort towns of Britain, and then in other countries. The earliest was probably Ryde’s on the Isle of Wight (1813) although the majority did not start until the late C19th. Early pleasure piers were made of wood; iron structures only became more popular with the construction in 1855 of Margate Jetty. The National Piers Society suggests that only 55 seaside piers survive today in England and Wales, the oldest extant iron pier being in Southport (1860).

Eastbourne's pier was designed by Eugenius Birch in 1865 and built by the Eastbourne Pier Company for £15,000. Originally a landing stage for steamers, it soon became a "pleasure pier" because it enabled the gentry to walk over the water and to participate in the social life there.

Spouse and I loved the pier when we first lived in Britain. But decades later it was starting to look just a little bit old fashioned. The only innovation that I remember was The Victorian Tea Rooms which  specialised in Sussex Cream Tea and attractive table settings.

Agatha Christie's story, The Jewel Robbery at the Grand Metropolitan, was set in Brighton but partially filmed in Eastbourne. Just as well the film was finished in 1993. Firstly the owners put Eastbourne Pier up for sale in 2009; included were Victorian tea rooms, an amusement arcade, bars and a nightclub. Secondly Eastbourne Pier experienced a fire in July 2014 that burned through a large amount of the central domed building. The two-thirds of the 305-metre pier that were not destroyed ...were quickly reopened.

Even more popular than pleasure piers, re leisure time activities, were the bandstands built in the UK, Australia and other countries in the world. Presumably they too resulted from changing social life in late Victorian & Edwardian years.

Normally bandstands were built in the centre of a public park, surrounded by lawns & gardens where families strolled or sat on portable chairs. The old practice of military bands marching through built up areas in town, surrounded by scruffy children and hangers-on, was no longer acceptable.

Each coastal town sought to unify the pleasure activities in the centre of the town’s beach area. Many towns liked to choose from amusement arcades, theatres, restaurants, tea rooms, striped deck chairs, slot machines, lunar park rides, fishing sites, fairground stalls and walking areas. What was less common was a bandstand being located right next to a beach, very close to that coastal town’s pleasure pier.

Eastbourne bandstand, pleasure pier and beach

This East Sussex town had its bandstand by 1893, standing on cast iron stilts right on the seafront. Decades later, as a part of the town’s plan to improve its resort facilities, a newer Eastbourne Band stand went up. The 2nd bandstand, built in 1935, had a rather special semi-circular design, Orientalist blue domed roof and silver finial. Still today, see its main arena with middle and upper balconies seating 3,500 people.

Ten thousand people attended the three concerts given in that special summer of 1935.

For many years Eastbourne bandstand ran a daily programme of military bands, at least until the end of each summer season. But new audiences don’t necessarily love what their grandparents loved. So in 2010, the 75th anniversary of the new bandstand, big band nights, rock 'n' roll and Last Night of the Proms were added to the programme. The concert music ended triumphantly with Tchaikovsky’s 1812 overture, accompanied by a spectacular firework display.

Clearly the organisers are making the programme more relevant for modern audiences and the bandstand is having a new lease on life. Some 150 concerts are now held per year in Eastbourne (pop 90,000).

Eastbourne bandstand and concert

One last thought that I have raised before - a connection between bandstands and the Titanic. See a commemorative plaque at the rear of the original Eastbourne bandstand, in memory of a local  bands-man who was playing on the Titanic when it sank in April 1912. That plaque was transferred to the newer, 1935 bandstand.

Grand Hotel, Eastbourne

I hope you enjoy Eastbourne History Tour by Kevin Gordon, Amberley Publishing, 2019.

Old Parliament House Canberra & museum

Duke and Duchess of York 

opened Parliament House May 1927.    

                                   

The need for a national capital city arose when the colonies united to form the Comm­onwealth of Australia in 1901. The constitution provided that a new national capital should be built half way between Melbourne and Sydney, to avoid jealousy and conflict. The new Australian capital city of Can­berra was fixed in 1908 and the area was formally ceded to the Federal Government in 1911. However the Parliament couldn’t relocate from its interim location, Melbourne, to Can­berra until the new building was ready.

Parliament House was designed by Scottish John Smith Murdoch (1862–1945), the first Common­wealth Government archit­ect in Australia, and a team of assist­ants from the Dept of Works & Railways. The building wasn't int­ended to be permanent or elaborate; rather a provisional building to serve Parliament for 50 years max. It would be a classical building like the Parthenon, but with­out all the ornate details. And it was to look out over Lake Burley Griffin.

Murdoch’s provisional parliament building was to be modest & funct­ional. It was designed on a basic square, which provided the building with regular pro­p­or­t­ions. It was a 3 storey brick building with the principal floor on the middle level. The funct­ional aspect was reflected in all the des­ign, extending to the interior fit­t­ings & furnishings. The faç­ade originally included a grid of recessed openings and balcon­ies, with four bays having arched bronze windows and stepped parapets. The building’s front façade had strong horizontal lines, display­ing only 2 storeys, with higher massed elements behind the faç­ade, indicating the loc­ation of the debating chambers. The lower mass in the centre was where King’s Hall was. As a result, with its now enclosed verandas and colonnades, and strong horiz­ontal lines, the building was not as some people expected a proper Par­liament House to be.

Old Parliament House, front entrance

It didn't include cl­assical arch­itectural elements like columns or pedim­ents, but did have the necessary sym­metry. In the end, he had designed what is now considered a significant, nation­ally-listed heritage building with fine classical simplicity, order & proportion. And the design ex­tended from the building to include its gard­ens, dé­cor and furn­ishings.

Murdoch designed both the exterior of the building AND the int­er­iors. He had to integrate all the spaces required of a parliament including: chambers, King’s Hall, party rooms, library, offices, members’ dining rooms and kit­chens. And he designed a distinctive set of furniture that shared the architecture’s design language.

Everything was pre-planned. Old Parliament House was designed in the Strip­ped Classical Style, commonly used for most Aust­ralian government build­ings built in Can­b­erra in the 1920s-30s. It was also recognisable in Murd­och’s other Can­ber­ra buildings eg Hyatt Hotel Canberra and Hotel Kurrajong.

Parliament House and Old Parliament House are the most significant features in the area covered by the National Triangle. Other build­ings key to the design and symmetry of the Triangle are the High Court and the National Gallery near Lake Burley Griffin, and the National Libr­ary.

Note that some of the integrity of Canberran architecture came after John Murdoch persuaded archit­ect Walter Burley Griffin to come to Australia from the USA. He was very busy.

Old Parliament House was the seat of the Parliament of Australia from 1927-88. In the 63 years that the building served, there were changes in the size and nature of the Federal Parliam­ent. During those years, the House of Representatives grew from 76 to 148 members and the Senate from 36 to 76 members. In 1927, only the Speaker of the House, President of the Senate, Prime Minister, Lead­er of the Government in the Senate and ministers had their own offices. But in the next 60 years, great changes took place in Australian social and political life, and democracy matured.

In 1927 the bush landscape in Canberra stood in stark contrast to the estab­lish­ed lush gardens of Parliament House in Melbourne. So throughout the 1930s, gardens were established to the east and west of Old Parliament House, patterned rose and annuals display beds, set in lawns and trees. Located on either side of Old Parliament House today are the rebuilt House of Representatives Garden and the Senate Garden so that when Parliament moved, the old gardens could be opened to the public.

By the 1980s, the building had exceeded its capacity with 3,000 people crowded into a building intended for a few hun­dred. Members and senators had tiny, overcrowded offices. In June 1988, mem­bers sat for the last time after 61 years in the old building, as Parl­iament trans­ferred to the completed New Par­l­iament House on Capital Hill.

Senate chamber

House of Reps chamber

Was King's Hall,

now Museum of Australian Democracy

So the sig­nif­icance of Old Parliament House today lies in its hist­or­ical value. In May 2008 King’s Hall became the Mus­eum of Austral­ian Democracy. It tells the herit­age of the build­ing and the story of Australia’s democracy. During its life as a work­ing parliament, the building was the setting for many of Aus­tral­ia’s major polit­ical events. Debates that influenced the future of the nation took place here, key decisions were taken, pol­itical careers were made and ended.

The Museum of Australian Democracy displays Aust­ralia’s pol­itical heritage. Old Parl­iament House is open daily, for either a guided tour or a self-tour where we can visit nearly all areas of the Old Parliament. See, for example, Kings Hall, House of Representatives Chamber, Prime Ministers Office, Cabinet Room and Senate Chamber.

In 1998 Old Parliament House became home to The National Port­rait Gallery which holds a range of changing exhibitions. And it serves as a venue for lectures and con­certs.

Image credits: Mildenhall images of Old Parliament House

Flying Scotsman’s history & dreamy suites

I have travelled the vast widths of Australia and Canada by very comfortable trains, and long parts of France and India by comfortable trains. But never on The Flying Scotsman, which was the world's most famous train service.

In 1860, 3 companies established the East Coast Joint Stock for services using common trains, and it is from this agreement that the Flying Scotsman arrived. After WW1 the British government grouped the surviving rail companies into 4 regions. London North Eastern Railway-LNER arrived with the creation of the Big Four new railway companies. They were divided geographically,  due to over-lapping land and routes - LNER largely served the eastern side of the UK from London up to Scotland, but it competed with the London Midland & Scottish Railway which served the west coast route. They in turn were competing with the other regions to encourage passengers to use their services; each promoted their distinct style and region. The Flying Scotsman holds the record for hauling the first nonstop London-Edinburgh service in 1928. It was the first locomotive to reach 100mph in 1934 and the first steam engine to travel globally, to a U.S World Exhibition and Australia on the container ship NZ Pacific.                                                                            

Grand bagpipe welcome to the train

The Flying Scotsman is one of the Pacific type express tender locomotives built in Doncaster from designs by Sir Nigel Gresley, LNER’s head mechanical engineer. They were the most powerful steam locomotives used by the LNER railway on the fastest and heaviest express passenger trains between London and Edinburgh.

In 1924 it was selected for the British Empire Exhibition in London. It was one of 12 Pacific type locomotives in service on the east coast main line that year, with another 40 awaiting delivery.

The new locomotive was built in 1930 and called the Royal Scot in time for it to tour the USA in 1933. It was built for the London Midland and Scottish Railway to compete against the LNER Flying Scotsman. The difference was that the Royal Scot ran along the West Coast Main Line, while Flying Scotsman ran along the East Coast Main Line.

By WW1 railway posters crammed as much information about a railway service and its destination as possible. Posters were full of text, and the results were seen as quite unintelligible at a distance. Then LNER appointed its first Advertising Manager in 1923, and a month after the Co. was formed, they introduced a poster advertising campaign. Soon all the railway Cos were employing the best contemporary artists to create striking new works each year.

Travel through the Scottish Highlands

 

Both the Royal Scot and Flying Scotsman embodied the height of steam railway engineering then. They were the flagship locomotives for their railway companies. Thus they were the stars of their advertising campaigns, which took the form of large posters. Timing was every! Art Deco railway art was a serious field of commercial art & design that launched in the 1920s and peaked in the 1930s. The railways saw art and design embrace industry for the first time in a very modern style. Art Deco was obsessed with travel, speed and new forms of transport that saw land, air and water speed records being broken regularly. Aptly, artists sought to convey luxury, movement and speed in the new style.

Typically railway poster art focused on pleasant images of destinations. Sunny resorts, beaches, golf courses, quaint towns & rural scenes, were their favourites. But the railway companies were always keeping an eye on their competitors, trying to create impact with their designs, which the new Art Deco style achieved. In 1929 the Public Relations & Advertising Officer for Southern Railways prepared the Take me by the Flying Scotsman poster, a classic then.

The Royal Scot Euston to Glasgow & Edinburgh poster was created by artist P Irwin Brown for rival company LMS in 1931. It depicted the locomotive head-on, racing towards the viewer. The palette was limited to white, grey and black, with vivid red & yellow highlights. The block art deco lettering of the title combined with the colours make for bold, eye-catching graphic design. It is an image of power and modernity through industry and engineering.

The National Museums Scotland has fine examples of art depicting 2 of the most famous locomotives from Steam’s Golden Age. #1 is the original art work for London North Eastern Railway/LNER’s advertising campaign from mid 1932, Take me by the Flying Scotsman, by artist A R Thomson. #2 is an enormous billboard poster for the Royal Scot. Thomson created new works focusing on the scale of the black shiny Flying Scotsman locomotive.

They wanted to show speed conveyed in the Art Deco style, very different from traditionally showed pleasant images of the holiday destination. Now the goal was to show the experience of train travel itself! Despite its artistic merits, when the poster was displayed on station platforms it was not as popular with the public as Southern Railway’s design.

Facilities Being greeted by an official bagpipe player was a signature tradition for the Royal Scotsman. Guests were typically piped onto the train by a kilted Pipe Major, especially while departing from Edinburgh, and offered champagne once they were in one of the lounges.

 double bed and separate living room in Grand Suite

Ensuite bathroom and cupboards in Grand Suite

The 4 Grand Suites were expanded & renovated in 2024, elegant and very expensive. They feature a large fixed double bed, complete ensuite bathroom, 2 wardrobes, living space with a table, sofa and two chairs, opening windows and a service call-button. Most people sleep very well, as the train remains in quiet sidings at night. And guests receive luxurious perks eg private dining if requested, and private arrival and departure transfers to the train station. With the addition of the Bamford Haybarn spa car, the train stands out even more. The 9 twin-bedded cabins and 5 double-bedded cabins are on the same luxury level as the grand suites. 

Formal dinner tables

Royal Scotsman

 

With the small venue and few passengers, Belmond Royal Scotsman is great for those wanting for a more intimate, luxury setting with gourmet dining. Welcome-aboard champagnes are offered and sparkling mimosas. Two-course lunches, 6-course dinners and selected wines are served in elegant mahogany clad dining cars. Lounges feature comfortable, plush interiors, and coffees and afternoon teas are served during the journey. Features can include customised off-train excursions eg private visits to estates.

Observation car

Vogue

In 2004, the train was purchased by the National Railway Museum, and restored to working order in 10 years, costing £4.2 million.

Jugendstil - Art Nouveau in Prague

Jugendstil was the art­is­tic style that arose in Germany in mid-1890s and continued until WW1 loomed. It derived its name from the Munich magazine Die Jugend-Youth, which featured Art Nouveau designs. Two phases were seen in Jugendstil: 1] the early pre-1900 style that was mainly floral in character, rooted in English Art Nouveau; and 2] a later, more abstract phase, growing out of the Viennese work of the Belgian-born architect Henry van de Velde.

The fate of Alfonse Mucha (1860-1939), Czech painter, ill­ustrator and graphic artist, worked in Paris at the turn of the century, then some time in the U.S. He returned to Prague in 1913. There he particip­ated in the décor­ation of several buil­dings, being an active proponent of Czech modern art. So if some of the Prague Art Nouveau artists came from Vienna or learned in Vienna’s architectural schools, especially Otto Wagner's, Czech artists grew their way into Art Nouveau. Wander around AN sites in Prague and notice that Prague Art Nouveau artists had their favourite decorative pattern: a set of tree branches with flat and overlapping leaves.

Some areas of the town were designed in Jugendstil style. But out­side the city’s inner centre, the general state of the buildings did not look good. The broken windowpanes, the falling plaster and the Art Nouv­eau door han­dles repl­ac­ed by standard ones were certainly due to the Russ­ian legacy. But there haven't been many reconstruction programmes as there were in western Europe, so most or­iginal Art Nouveau buildings were not pulled down in Prague.

Sunflower Door, Prague, 1900

Quora   

A romantic walk across the Vlata on Charles' bridge will show the great astronomical clock (unique except for Strasbourg Fr­ance), rectan­g­le stone towers, part of the ancient city wall with typ­ical steep slat­ed roof and four peaks in the angles. For Classical Music lovers, there is a concert in every church every day. Till 1918, Prague was part of the Austro-Hungarian Empire and then became the capital of Czechos­lov­akia (and later the Czech Republic).

But from the later C19th, independence movements arose. These voi­c­es claimed political autonomy and also cultural autonomy. In any case, Prague was not as broadly spread then as it is today. So a lot of Art Nouv­eau buil­d­ings that are today in Prague were in fact in other little indep­endent towns eg Smichov. Modern Prague started in the 1920s, and like many other large towns of that time in Europe, the capital city grew rap­idly. The era was contem­porary with fast rural depopulat­ion com­bined with start of industry. All the city walls were razed during later in the century.

The Sunflower Door was part of a building designed in the Art Nouveau style that was popular ac­ross Europe at turn of C20th. This decorative style was charact­erised by its use of nat­ural forms, curved lines and intricate floral-plant inspired motifs. The door bel­onged to the Art Nouveau movement expressing love for nature, with a prominent sunflow­er being a central design element. The door was created in historic Prague, a city known for its wide range of architectural styles, from Gothic & Baroque, to Renaissance & modernist. The Sunflower Door contributed to the city's reputation as an architectural treasure trove and is a bel­ov­­ed detail among the city's many historic buildings. It was a beau­t­­iful example of how everyday obj­ects like doors were transformed into works of art in Art  Nouveau period, and remain today.

Hilbert House, 1904

Sidewalk Safari

This door was built in 1900 by Czech architect Osvald Polivka (1859-1931), associated with the Secession-Art Nouveau period in Prague. Expl­ore the feminine con­tent of image graphics. There is an ancient language structure that assigned either a feminine or mas­cul­ine attribute to an action. The person waiting to catch a ball is in fem­inine-passive; the ball thrower is in masculine-active mode. Sex­ual designations based on body functions have been part of lan­guage as a form of classifying & understanding the world.

Designed in 1904 by Czech architect Kamil Hilbert with period decorations by Karel Novák, this is Hilbert House. The nicely curved arabesque metal work integrates very well with the carving on this street entrance door. The arabesque style glass bord­er­ing etching adds an additional transitional detail between the interior and exterior of the window. The arabesque radial pattern above the door functions like other Art Nouveau doors.

Villa Henlenka 

designed by Alois Korda in 1903

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Villa Henlenka was designed by Alois Korda in 1903. With its angle tower and floral glazing, this villa accumulated many Art Nouveau and tradit­ional features. Although it is the best example of Jugendstil villa near Prague, today the villa requires a lot of renovations.

                                      

Municipal House, 1905-11

architect Osvald Polivka
Prague Now

Municipal House (1905-11), designed by Osvald Polívka, was Prague’s most vigorously art-nouveau building. Every detail of its design and decoration was carefully considered and every painting and sculpture was loaded with symbolism. The city authorities wanted a multi-purpose building which offered not only public services but also cultural events eg concerts in Smetana Hall. The most symbolic nationistic event in Municipal House was Czechoslovak Declaration of Independence, 1918. Extrav­agantly decorated both inside and outside by leading Czech artists, it conjures up fin de siècle atmosphere. Restored in the 1990s after decades of neglect, the perfect decorations are in the restaurant.

Grand Hotel Europa was once the jewel-in-the-crown on Wenceslas Square. When the hotel opened in the 1870s, it was a symbol of luxury unprecedented in Czechoslovakia. Over the years, the hotel rooms became outdated, but the facade remained sparing with Art Nouveau details.  After renovation in 1906, the hotel once again luxurious.  

Royal Hotel Europa, 1906

Wiki

Hilbert House (1911) was sculptor and architect František Bilek’s studio and home, complete with semi carved stones and bricks. The whole building has beklen designed by Bilek from the furniture to the door handles, a perfect building to be used as a Museum about Bilek’s sculpture work. Brick work masonry was articulated by pillars in form of corn sheav­es, trying to express Bilek’s view on substance of life. See Bilek Villa in WanderBook.

Dancing House, 1992-6

modern and deconstructivist architecture

Wiki

 

Dancing House was designed by Czech architect Vlado Milunić & Canadian Frank Gehry on a perfect riverfront space. It consists of 2 cylindrical towers in daring shapes, it resembles two people swaying and dancing to music. One tower one bends at the middle, curving back, inspiring many to think of Ginger Rogers twirling about in the arms of Fred Astaire. In a city known for 1000 years of art & architecture, this modern building in Prague provided a sleek and modern contrast to the Gothic, Baroque and Art Nouveau standouts all around the town. The French restaurant on the top floor is very elegant.

Read Petr Wittlich's book, Art Nouveau Prague, 2000

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Lutana Garden Village, Hobart

a Lutana Arts and Crafts house, c1922

Britain’s company towns were settled by giant companies for their workers. In 1887 for example, Lever Brothers Co. began looking for a new site on which to expand its soap-making business, build housing and develop services for their factory workers. They bought 56 acres of flat unused marshy land near Liverpool, well located near a railway line. The site became Port Sunlight, where William Lever built his industry and his model village. Lever wanted a healthy, happy and productive work­force.

The garden city movement was a contemporary but slightly different British approach to urban planning, founded in 1898 by Sir Ebenezer Howard. Garden cities were planned, self-contained communities surrounded by green belts. They included carefully balanced areas of residences, industry and agriculture. Howard’s book Tom­or­row: A Peaceful Path to Real Reform came out in 1898, followed by Letchworth /Welwyn Garden Cities, both in or near London.

View of the Valley
over the top of the gardens

Reformers before WW1 were concerned with town planning, sanitation, building regulations and slum clearance, influenced by the Garden City Movement in Britain and City Beautif­ul ideas from the USA. I have described planned towns in Australia in this blog, especially Colonel Light Gard­ens in Adelaide, an excellent example of town plan­n­ing. It had radial street pattern, reserves and gardens, wide avenues, useful laneways, street frontages and a park-like setting. This post-WW1 Adelaide suburb adopted a consistent architectural style: Californian bungalows.

But I had not heard of Lutana Garden Villa in Tasmania. There had certainly been state government initiatives to build garden cities in Tasmania. In fact Charles Reade, the visiting English town planner, designed a scheme for Lutana, but all hopes were defeated by conservative politicians. Instead the next Tasmanian government negotiated the establishment of a private corporation, the Electro­lytic Zinc Co., on the site. Herbert Gepp was the General Manager.

This zinc company did indeed plan a garden suburb complete with com­munity and health services for its workers, but economic diff­ic­ult­ies resulted in only a section being completed. The lasting legacy of this compromised vision was a low density suburb with individual houses and gardens; but without the associated overall planning.

Built between 1918-21, and designed by architect and town planner William Butler, Lutana’s prime goal was to build a most beautiful and healthful site just over the hill from the recently established zinc works. Since this suburb was remote from the centre of Hobart, the Company had to provide access to shops and transport. Two railways services daily allowed families to travel and shop.

Unlike the Colonel Light Gardens with its exclusively California Bungalow architecture, Lutana had excellent Arts and Crafts style houses that formed coherent street­scapes. The Garden City approach to housing development was further acc­en­tuated in the curvilinear street pattern and the arrangement of buildings. The strong visual quality of the open spaces and semi-rural land was loved, as was the development of the river.

I've no doubt that providing good housing at an affordable price by a major Tasmanian industry was to attract quality staff at a time of staff shortages. As was the company’s early C20th philosophy of Welfare Capitalism.

Before the village started, all the surrounding countryside was open farm land. Once the locality started to become the centre of the zinc working com­munity, some workers would be living in the village and some would be building around the village. The roads were professionally organised and footpaths were laid down.

In 1922 General Manager of the zinc works, Herbert Gepp, set a first task in Lutana Village of planting special trees with his own silky hands. In the first 2 years, 6 dozen horse chestnut trees were imported to the village and planted.

The houses and facilities were not the private property of the people in the village, but were to be rented. Once the village started, more homes were built by the comp­any and more were rented out to workers. Then the village got their first shared community facility, Lutana’s village hall. Opened in 1924, the hall was surrounded by fine grounds, where the village children could play games. The interior of the hall was compact, but it had plenty of open floor space and an excellent stage at one end of the building.

The hall became the home for the village kindergarten. The parents were asked to assist the kindergarten teacher, if they were going to make it successful for the youngest children (a la kibbutz). A Sunday School was opened in the hall, to save the kiddies a long walk on Sunday afternoons.

The town's kindergarten 

in Lutana's Village Hall

See the outside of the hall as it was orginally built. A gate and fence were built, later to be replaced with a higher fence and more security for the hall and garden. The wooden boxes were built at the front of the hall to protect the horse chestnut trees. Then the co-operative shop was opened, to provide the necessaries of life (once again a la kibbutz). It was a beautiful building, both the exterior and interior.

A mutual assistance tenants' committee of tenants was formed to promote social cohesiveness and to run a scheme of improvements. Many ideas were considered to improve the village, and to pro­vide pleasure for the residents. For example the postal authorities installed a public telephone and opened a letter clearance. A Lutana Xmas Tree was placed in the Hall, for a children’s party. In addition to a bus service from Lutana to central Hobart and good sanitary conditions, Lutana gained its own gas supply, greatly appreciated by the villagers in Tasmania’s cool winters.

The houses, which had 4,5 or 6 rooms each, were fitted with modern con­veniences, including sewerage, water and electric light. The company planned for 180 homes on the site, but they stopped at 42. These 42 houses were rented to employees at very fair rentals: a 4 room house cost only 20 shillings per week. Tenants were selected and the houses were allotted by a sub-committee of the Co-operative Council, Workers HAD to have a high moral character, and men with large families were given preference.

advertising for the Lutana co-operative shop 

that also promoted social cohesiveness

The gardener/workers laid out their own gardens spaces in attractive flower beds, lawns and vegetable plots. The vegetables ensured fresh table supplies of onions, cabbages and beans at a minimum cost, and providing healthy exercise. The houses’ beauty was enhanced by pot plants and garden seats; creepers appeared on trellis work.

Re the interior of the homes, the colours were charmingly done and handy cupboards and shelves were built in. The baths have been made from our own rolled zinc sheets.

The views from the verandas revealed some of Tasmania's finest scenery, including the Derwent Valley beyond Prince of Wales' Bay and the lofty Wellington over Hobart. A beautiful panorama of green past­ures was visible, dotted with splashes of colour, orchards, trees and shrubs.

Clearly the zinc workers’ houses were built on ample blocks, were sewered, well drained & fitted with modern facilities. So why did the company not start the second tranch of home building? And why did the Company write to the Co-operative Council advising there were very substantial reductions in the rents of Lutana homes? In 1926 house rentals were dropped to 14 shillings/week for four rooms! Workers were even advised that the very low rents provided an opportunity for them to start a Savings Bank Account.

Now called Nyrstar, the company still advertises the strong themes it's held since starting in 1917 on the site formerly called the Hobart Zinc Works. The strong relation­ship the smelter created with the community was forged early and continues today via community meetings, sponsorships and partnerships. A engineering heritage marker cerem­ony at Lutana was unveiled by the state Govern­or in Ap 2013

Lennox Avenue, Lutana 2024

Real Estate

Quotes come from Lutana Village - Historical Website

Great Emu War Australia 1932 - not a joke!

A flock of 20,000 hungry emus

WA, 1932

photo credit: Footnoting History

 

In the years following WW1, the Australian Government struggled to find work for their ex-servicemen to do on returning home. From 1915 a Soldier Settlement Scheme began to be rolled out across all states, and event­ual­ly it saw c5,030 ex-soldiers given plots of land to con­vert into working farms, primarily to cultivate wheat and sheep. By Sep 1920, the government had purchased 90,000 hectares for the ex-servicemen but still needed more. So they started placing returning soldiers in marginal areas of Perth in W.A, even though setting up a successful farm with little experience in a good area would not have been easy. Plus the ex-servicemen struggled even more when the Great Depression hit in 1929, as wheat prices plunged. Alas the government’s promised subsidies for wheat never came.

Aust­ralian emus had been a protected native spec­ies up until 1922 when they started to destroyed the fences around wheat farms and ate or trampled the wheat. Thus they were officially reclas­sified as vermin. In summer 1932, a flock of 20,000 6’, hungry birds migrated from the coastal regions to inland regions, looking for food and to breed. By late 1932, they were wreaking havoc on the marginal wheat farms owned by the ex-servicemen.

A group of local ex-soldiers were sent to speak with the Minister of Defence. These farmers had no access to the nec­essary ammunition, so they called on the Aust­ralian military to act and soldiers were sent to the region with mach­ine guns!! Being ex-mil­it­ary, the farm­ers were very aware of how eff­ect­ive mac­hine guns would be.

Led by Major GPW Meredith, 7th Battery of Royal Austr­al­ian Artillery, the army set out in Nov 1932, certain to gun down birds in one district. The soldiers moved in formation behind the birds, and the birds immediately scattered in all di­r­ect­ions - emus cannot fly but they can run VERY quickly. 2 days lat­er, hidden gunners sighted 1,000 emus nearby and waited patiently for them to arrive. The soldiers open fired at short range, killing 10-12 emus, while the others re-scatt­ered. The media noted: Each emu mob has its lead­er, always an en­or­mous black-plumed bird standing fully 6’ high, who kept watch while his fellows busied them­selves with the wheat. As soon as he gave the signal, the leader always remained until his followers reach­ed safety.

WW1 Lewis machine gun

used against the emus in W.A

credit: Wikimedia Commons

On 8th Nov 1932, it was reported that Maj Mered­ith’s party had used 2,500 rounds of ammunition (25% of the all­otted total) to destroy 200 emus. The Australian House of Repres­entatives discussed the military operat­ion and following the humiliating negative coverage of the Emu War in the local media, the army withdrew the military personnel and machine guns! Instead the government decided to prov­ide the ammunition that the locals need­ed to take care of the problem th­emselves, and 57,034 emus were killed over six months. The Journal of Aus­tr­al­ian Studies suggested it could have been a pro­p­a­ganda exercise to show that the government was supp­orting its strugg­ling war heroes. But I would have been more worried about physically and psychiatrically damaged WW1 soldiers being given machine guns again ☹

Australian coat of arms

starring the kangaroo and the emu

 

The emu still takes its place of pride on the Australian coat of arms with our other native, the kangaroo, having had its status as a protected animal reinstated. The emu population across Australia is c600,000-700,000+, not in danger of dying out. But conservation­ists are working to save several specific populations greatly at risk, especially in NSW.

Emus are very large, flightless birds and the massive number of emus was causing concern to local farmers. I have no doubt that the West­ern Australian farmers were facing hard times with their crops foll­owing the Great Depres­sion, and their difficulties greatly in­creased with the arrival of c20,000 emus migrating inland in their breeding season. But these birds are in­digenous to Australia, prot­ected and importantly symbolic. So the Great Emu War of Australia was both underst­and­able and unforgivable! At least they could have given the emu meat, which is both healthy and tasty, to families starving during the Depression.

The birds still remain plentiful in the areas outside Perth, so in some sense the War was also futile. Conservationists were clearly unhappy and hoped that problematic wildlife management would never involve machine guns again! So I am pleased to note that, although in the following years farmers requested assistance from the army again, the government did refuse!

Wilsons Promontory National Park, Victoria, 2010

Wikimedia Commons

Year that changed English literature: 1922!

The World Broke in Two: the Year That Changed Literature by Bill Goldstein, 2017 wanted to cover the intellectual achieve­ments and personal dramas in the life of famous British writers, Virginia Woolf, T.S Eliot, E.M Forster and D.H Lawrence, throughout 1922. These 4 writers were not unknown at that stage but the literature world was chang­­ing. This was the year straight after James Joyce’s Ulysses and Proust’s In Search of Lost Time (published in English 1922) shocked the public. Goldstein included Proust because he’d had a vast impact on Woolf and EM Forster!

The World Broke in Two: the Year That Changed Literature
by Bill Goldstein

The History Reader

1922 was the birth year of modernism! It was a great year in which Woolf started one of her very popular novel Mrs Dalloway and Forster started one of his great successes, A Passage to India. Lawrence wrote Kangaroo, his Australian novel, and Eliot wrote his well respected The Waste Land.

Yet I started Goldstein's book with concerns. If 1922 ushered in a new English modernist lit­erature, would that down­play the value of my beloved late Victorian and Edwardian Liter­ature? What if Goldstein analysed and over-glorified The Rise of Modernism? As NPR explained well, Goldstein neatly avoided a dutiful chronicling of anything so weighty. He cleverly sacrificed historical depth for more intimacy.

It certainly was a year of new and exciting literature, but would we describe it as the invention of literary modernism? Bill Goldstein called them literary geniuses with interconn­ecting lives. Forster and Eliot lived in London and socialised with each other. And the Woolfs lived in London until 1919. The Joyces lived most of the 1920s in Continental Europe.

These writers might had ev­oked a nostalgia for a time when prec­is­ion and introspection were the guiding principles of liter­at­ure. No shock there, but there were great ex­cerpts from their own letters and their own diaries. So often their words were witty, gossipy and often critical. And not just their own diaries. Read the letters of poor Frieda Lawrence who struggled to live with her self-absorbed husband.

The problem was that 1922 was a huge year in world history. The War To End All Wars had ended in tragedy, young men were dead or wounded, economic catastrophes were created by the Versailles Peace Treaty of 1919, Gandhi was arrested in Bombay for sedition and gaoled, and Joseph Stalin became Gen­eral Secretary of the Soviet Union’s Central Committee.

We need to know the inspirations, self-doubts, financial strug­gles, love affairs, mental illness and personal rivalries between 4 important writers. But what I needed more was important historical context eg please ack­­now­ledge that the terrible influenza epidemic that swept Brit­ain just before 1922 had a very real and personal impact on our writers.

T.S Eliot, Virginia Woolf, Vivienne Eliot

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My longest blog posts are 1000 words, so I cannot say I know anything about the creative process for people writing com­plete books. Thus it was very interesting to read how Woolf, Eliot, Law­r­ence and Forster approached the writing process in very diff­erent ways. Goldstein closely described the process for each of these writers. Virginia Woolf was my type of woman! She allocated two hours every morning as sacred writing time, boosted by walking and journal writing. In fact each of the four writers nominated sacred times and sacred places to clear their minds and to boost their creativity.

The sharing of ideas while reading and discussing each other’s work was also important, with individuals or in writer groups. EM Forster admitted that he learned a great deal from reading Virginia Woolf’s writing.

That these clever writers had to overcome incapacitating phys­ical and mental illnesses was an anxiety-provoking part of the book for me. What happens if locking oneself in a study for hours on end damages all writers’ mental health and threatens their marriages? Eliot suffered from both anxiety and depress­ion, and his editor had great problems in getting Eliot to de­liver his poems in time for publication. Forster spent the year broken from grief over the death of his lover in Egypt. And the reigning theme of the book, according to The New York Times was writer’s block, treated as an anthropological constant. I'm fortunate; academics may not even know what writer’s block means.

Hogarth Press, the publishing house founded in 1917 by Leonard and Virginia Woolf, succeeded. Still, Virginia & Leonard would not publish Joyce’s Ulysses. Large volumes were difficult for such a small press and worse still, they probably thought the book would be banned, leading to Hogarth Press being shut down. Neither DH Lawrence nor Virginia could read Ulysses!

Joyce with his loyal publisher Sylvia Beach,

12 rue de l’Odéon Paris, 1922

Los Angeles Public Library

 
DH Lawrence was very fortunate that travel did not disrupt his ability to write. Some of Lawrence’s books were banned in the UK, so instead of facing the obscenity laws at home, he saw his time abroad as voluntary exile. I will only mention two trips. In Feb 1922 Lawrence and his wife visited the famous patron of the arts Mable Dodge Luhan in New Mexico, from 1917 on. Copying Gertrude Stein’s cultural salon in Paris, Lawrence expected to socialise with influential artists and poets. Later that year Lawrence and wife went on a very successful tour of Australia for 3 months in 1922, then his novel Kangaroo was published.

Eliot and Forster were regulars at Virginia & Leon­ard Woolf’s home, but it was more personal than it was glitterati. And sometimes it was too personal; Gol­dstein let the 4 writers use their own witty, gos­s­ipy & cranky words. Woolf emerged as a patrician gossip, Forster a tragic romantic, Eliot formal and pretentious and Lawrence an irritant.

Were the main participants in this literary revolution highly conscious of being part of a shared enterprise? Prof John Mullan said yes; this was their historical moment. The alliances and rivalries between individual writers gave literary modernism a unique self-consciousness. A web of influences, friendships and sometimes collaborations was necessary to their literary innovations.

A Passage to India

by E.M Forster

Open Library

Fred Astaire, sister Adele & Ginger Rogers

Adele (1896-1981) and Frederick Austerlitz (1899–1987) were born in Nebraska, children of Johanna and Fritz Aust­er­litz. Johanna was born in the U.S to Lutheran Ger­man imm­igrants from East Prussia and Al­sace. Dad was born in Linz Austria to Jewish parents, and later the whole family converted to Cath­ol­icism - he arrived in New York in 1893, then found brewery work in Omaha.

Adele became a dancer-singer, and alth­ough Fred refused dance lessons, he eas­ily copied his sister's dancing and learned 3 musical instruments. So mum started a brother-sister act, common in vaudeville then, for her children.

When Fritz suddenly lost his job, the family moved to New York in 1905 to launch the child­ren’s show business careers. Adele and Fred began train­ing at the Alviene Master School of the Theat­re and Acad­emy of Cult­ural Arts. Their mother suggested they change their name to Astaire, as Austerlitz sounded too German. Did Fred mind that he was a] Germanic on both parents’ sides and b] Jewish on one side? Did he know that Fritz’s brothers Otto and Ernst remained in Austria and were soldiers during WWI? Apparently there was a tacit family agreement to mention neither.

Fred and Adele Astaire in 1921 

Adele and Fred were taught dance, speaking and singing, prepar­ing to develop an act. Their first act was Juvenile Artists Presenting an Electric Musical Toe-Dancing Novelty. In Nov 1905 their act debuted in Key­port New Jersey.

Their father's salesmanship rapidly landed Fred and Adele a major contract, playing the Orpheum Circuit of vaude­ville and cinemas in cities across the U.S. Even though Adele was older and taller, Fred wore a top hat (to appear taller) and the team was billed with Fred’s name first (to make him seem old­er). But eventually they decided to take a break from show business.

The career of the Astaire teens restarted with more polish, as they began to incorporate tap dancing into their routines. And they learned the tango, waltz and other popular ball­room dances from vaude­ville dancers. Then they appeared in Mary Pickford’s 1915 film, Fanchon, the Crick­et.

Young Fred was directing their music in 1916, just at the time he met George Gershwin who was working for the music pub­lisher Jerome Remick. Fred had been hunting for new music and dance ideas, so their meeting was a blessing to both their careers.

The Astaires had their first Broadway success with Over the Top (1917), a revue created for U.S and Allied troops. They did more shows eg The Passing Show of 1918 where fans loved Ad­el­e, owing in part to Fred's good choreo­graphy. But by this time, Fred's dancing was beginning to sparkle as well.

In the 1920s, they appeared on both Broadway and the Lon­don stage. And whilst in London, Fred was keen to study piano at Guild­hall School of Music. As Astaire's tap dancing was recognised by then as among the best in the world, he was certainly multi-talented.

Eventually Fred and Adele enjoyed stage succes­s­es. In fact, London gave them a bigger welcome than New York, but it was in Lon­d­on in 1924 that they heard of their father’s illness. Their mother ret­urned to America and soon, during the London run of Stop Flirting, their father died.

They won popular acclaim in theatres on both sides of the At­l­antic for Jerome Kern's The Bunch and Judy (1922), George & Ira Gersh­win's Lady, Be Good (1924) and Funny Face (1927) and later in The Band Wagon (1931). Fred went on to star in 10+ Broad­way and West End mus­ic­als, making 31 musical films and recordings.

The siblings split in 1932 when Adele married Lord Charles Cav­en­d­ish, 9th Duke of Devonshire’s son. Fred achieved suc­cess on Broad­way and in London with The Gay Divorcee, while consid­er­ing a Holly­wood future. But the end of the long family part­ner­ship was difficult for Fred.

His greatest dancing par­t­nership was with Virginia Ginger Rogers (1911-95), with whom he co-starred in ten Hollywood musicals! Among their most not­able films, where As­taire took the genre of tap danc­ing to a new lev­el, were Top Hat (1935) and Shall we dance? (1937). Their final film together was The Barkleys of Broadway, released by MGM in 1949.

Astaire was reluctant to become part of another team! How­ever RKO noted the public appeal of Fred’s choreography and of Astaire-Rogers dancing, which helped make dancing a key element of the film musical. Rogers maintained a busy theatre schedule, performing the title role in Hello Dolly! from 1965 on and took Mame to London audiences in 1969.

Now working with Claire Luce, Fred created a dance duo for Cole Por­ter's Night and Day. Luce stated that she had to help him to take a more romantic approach. The success of the stage play, and the film version, The Gay Div­or­cee, ushered in a new era in dance. Recently found footage of Astaire per­form­ing in Gay Divorce in 1933 survives!

RKO lent him to MGM in 1933 for his Hollywood debut in the succ­essful musical film Dancing Lady, dancing with Joan Craw­ford. On his return to RKO, he was with Ginger Rogers in Dolores del Río’s Flying Down to Rio (1933). Ginger and Fred were so thrilling toget­her, they made 9 films at RKO, including The Gay Divorcee (1934), Roberta (1935), Top Hat (1935), Follow the Fleet (1936), Swing Time (1936), Shall We Dance (1937) and Care­free (1938). Most Astaire–Rogers musicals became subs­t­antial money-makers for RKO.

Ginger Rogers and Fred Astaire in Top Hat (1935)

Fred in Top Hat, 1935

Instead of using dance as a mere spec­tacle as others had done, Astaire was determined that all song and dance routines in a film be integral to the plotline. Ast­aire films usually included a solo performance by Astaire; a comedy dance routine for two; and a romantic dance duo.

In 1933 Fred married Phyllis Livingston Potter, after Phyl­l­is’ div­orce; they went to Hollywood tog­ether, had 2 children and lived happily until Phyllis’ death from lung cancer. Ginger Rogers married 5 times, but never had any children.
 
I am very grateful to The German Way & More.

Marie Schmolka: Czech, UK, Nicholas Winton

The Nicholas Winton story was a joy to write and was well received by the readers. Now we can ask who planned the rescue of Jewish and political refugees from the Nazis in Czechos­lovakia and who involved Nicholas Winton in Britain?

Marie Schmolka

Maria Schmolka Society

Marie Eisner (1890–1940) was born to a non-religious Jewish family in Prague. She was a quiet woman, a social democrat involved in social work and high-level politics. With Hitler’s takeover in neighbouring Ger­many, she coordinated the assistance to refugees from the Nazi regime who sought asylum in Czechoslovakia. Her social democratic links helped her with leading politicians. As a leader of the Jewish women's movement, Eisner became the re­presentative of JOINT and HICEM, two Jewish refugee organisat­ions, and the sole Czechoslovak represent­ative on the League of Nations Commission for Refugees.

Marie Eisner married at 30 and although their short marriage remained child­less, she loved her step-children. After the death of her lawyer-husband Leopold Schmolka, Marie toured the Near East - it was this visit to Pal­es­tine that stirred her Zionist passion. On returning to Prag­ue, Marie joined the Zionist Organisation, WIZO and the Jewish Party, of which she soon was a central fig­ures.

In 1933 she was the founder and president of the National Coor­dinating Committee for Czech Refugees, where her col­l­eagues included Max Brod. This was the organisation that took the central role in the relief campaign for Nazi victims from Germany, both Jews and non-Jews. It was thought she was the moving spirit in the est­ab­lish­ment of the relief committee for the Jews of Carp­ath­ian Ruth­enia, part of the 1st and 2nd Czechos­lov­ak Republic between the wars (and the location of my in-laws’ home).

It must have been a exhausting life for Schmolka, attending the conferences of international comm­ittees in Gen­eva, Paris and London, as well as Jewish con­ferences ded­ic­ated to social and national causes. She visited the areas where refugees huddled, collecting evidence to mobilise public opinion and writing appeals to foreign amb­assadors in Prague and to Jewish agencies abroad.

Originally German Jewish refugees found Czechos­lov­akia welcoming, but they were gradually viewed with suspicion. And other countries refused to offer asylum at all: Schmolka knew this first hand as she was the Czech delegate at the infamous Evian Conf­er­en­ce in July 1938. in France. Even Britain would take only unacc­omp­an­ied children – that way, no criminal foreigner parents would invade their nation.

After the Sept 1938 Munich agreement and the subsequent annexation of the Czech borderlands, the relief organisations in Prague were unable to cope with the large influx of refugees from the occupied Sudet­en­land; both Jews and political oppon­ents of Nazism were flooding in. Her struggle intensified on behalf of Jew­ish refugees who were stranded in no-man's-land, the narrow strip between the 1939 German and Czechoslovak borders.

It was Marie Schmolka’s appeal for help that brought the young Nicholas Winton (1909-2015) to Prague in Dec 1938. For the next three weeks, Winton helped organise the emigration of Czech Jewish children to Great Britain. He returned to Britain in Jan 1939, two months before the occupation, and continued with refugee work. Winton was definitely a hero, but it is clear that other, longer serving volunteers had already worked to save thousands of Jewish and political refugees from the Nazis.

Schmolka's appeals were met by other human­e U.K volunteers eg Doreen Warriner, a representative of the Brit­ish Committee for Czech Refugees. Doreen was monit­or­ed by MI5 between 1938-52 for her remarkable efforts!

When Germany occupied the rest of Czechoslovakia in March 1939, Marie Schmolka and her co-workers from the Committee for Refugees were among the first arrested. In the meantime Warriner supported Winton with the vital Kindertransport programme.

The Czech Kindertransport arrived in London, Feb 1939

The Guardian 

Hannah Steiner, president of Czech WIZO, was arrested a day after the German occupation of Prague in March 1939, so Marie Schmolka presented herself to the Gestapo and declared that she was responsible for all the activities of the relief committee. Soon after, Schmolka was imprisoned for two months in the not­or­ious Pan­krác Prison where the Gestapo subjected her to hideous questioning. Schmolka was released only in May 1939, thanks to ongoing protests of the Ministers of the Protect­orate of Bohemia and Moravia.

After her release, Schmolka had the energy to resume her work. But even more unbelievably, in Aug 1939 Adolf Eichmann, the head of the Central Office for Jewish Emigration, sent this Jewish woman to Paris, to demand more efficient Jew­ish emigration!!

Terrified by the outbreak of the WW2, Schmolka moved to London and established herself. She was active on behalf of the Czechoslovak Jewish refugees and exiles, working in Bloomsbury House. This was the former Palace Hotel purchased in Gower St which became the meeting place for the Czech, Zionist and Quaker social workers. Months later in March 1940, Marie Schmolka was dead at 46, having exhausted herself into a fatal heart attack. She wouldn’t take time off work to seek out medical care.

Prominent Zionists and luminaries of the Czech­os­lov­ak­ian government in exile gathered at the Golders Green Cremat­or­ium (no grave) to say farewell to one of the key European organisers of Jewish emigration before and during the early years of WW2. Jan Masaryk, the Czechoslovak foreign minister, made the main speech.

The Czech exile WIZO group changed their name to Marie Schmolka Society and in 1944, published a slim memorial. Now the Marie Schmolka Memorial is collecting information for her memorials - a plaque at her house near Hampstead, a statue in Prague and a prize for historical work addressing female Jewish social workers in the Holocaust.

A plaque at her house in London

honouring the heroine.  Press to expand

The women organisers featured in the cont­emp­orary records, but disappeared from public memory later on. There were monographs of Schmolka's fellow Zionists Felix Weltsch and Max Brod but Schmolka, who saved thousands of lives, was very difficult to trace. Some new information emerged in April 2019, at an Association of Jewish Refugees Conference,  

London. Thank you to the Marie Schmolka Society  and to Anna Hájková, in History Today 2018